On In the Light of Contradiction: Desire in the Poetry of Federico García Lorca (by Laura Burgos-Lejonagoitia) (original) (raw)
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VIDA, OBRA Y MUERTE DE FEDERICO GARCÍA LORCA EN LOS LIBROS
In this chapter I endeavour to survey relevant aspects of the literary image of the best known Spanish poet and playwright of the XXth century, Federico García Lorca, as depicted in English travel books on Spain. Many distinguished English-speaking travellers (
Federico García Lorca: Mediating Tradition and Modernity for a World Audience
Wiley Companion to World LIterature, 2019
Federico García Lorca's work has one foot in tradition and the other in modernity, bridging the rural and the urban but also deriving a peculiar force from contradictions between the two. This in-between status may very well be what brought Lorca and, through him, Spanish literature out of the periphery of Europe and on to a world stage. In his first mature work, Lorca interprets ancient traditions (flamenco and folksong), but he does so with a difference, using avant-garde technique or linking desire to a foregone frustration. The balladeer figure in the Gypsy Songbook mediates between an ancient community of gypsies and their "civilized" opponents. In Poet in New York, the poet seeks to mediate the loss of religious faith and the crisis of values triggered by the Great Depression. Lorca's theater starts with modernity's refusal of prescriptions for desire and a commitment to a politics of individual freedom.
Queer(ing) Poetic Subjects: Gender, Space and Time in García Lorca's Late Poetry
Cauce. Revista Internacional de Filología, Comunicación y sus Didácticas, 2021
This article focuses on a selection of poems from Federico García Lorca’s 1930s poetic works, Diván del Tamarit and Sonetos del amor oscuro, to argue that, by adding a non-normative element to his exploration of desire, Lorca queers poetic subjects and articulates gender, space and time in transgressive and innovative ways. Both poetic works reveal a sense of ambiguity made explicit as an integral part of the poetic artifice, together with spatiotemporal transgressions and re-appropriations of various poetic traditions, which reinforce the constructed and destructive nature of heteronormative discourses around gender and desire. Through close textual reading, I examine how Lorca creates an indeterminate and epenthetic poetic realm where the limits of desire and death are distorted and bodies, emotional states and spatiotemporal coordinates are unstable and fluid.
Revista Canadiense de Estudios Hispánicos, 1984
Clearly the crux of the majortextual polemicsurrounding Poeta... , namely whether we may work with the two 1940 editions towards a relatively satisfactory resuli or whether we must need/abandon them and return to Sf the earlier "split" versions of Poeta en Nueva York and Tierra y luna, depends on how invalidating the discrepancies which Dr Mart[n discovered really are. It is my present opinion that the continuing controversy bears more than a passing resemblance to the proverbial storm in a teacup. Critics have tended to be carried away by the "CaSo extremo" of "Nocturno del hueco" which Dr Martin cites in extensa (13-17). However, strikingly, a different impression is gained from the individual textual notes to Poeta ... tucked away at the back of the second edition presently under review (Poesfa,2),
Romance Quarterly, 2011
Federico García Lorca exemplifies the kind of "poetic thought" characteristic of late modernist poets like JoséÁngel Valente. Because of the circumstances of Lorca's reception, however, this intellectual lineage has remained in the shadows. This article argues that Lorca's lectures belong to the same genre as the prose writings of Valente, Machado, or Lezama Lima and that therefore late modernist poetics is less exceptional in the Hispanic tradition than it might have seemed.
De la nueva luz: en torno a la poesía última de Juan Ramón Jiménez (review)
Hispanic Review, 2012
De la nueva luz approaches the late poetry of Juan Ramó n Jiménez from several angles, critical, biographical, and comparative. The ten chapters comprising this book were written on separate occasions, and seven of them were published separately in shorter versions. The first section of the book, ''Hacia otra desnudez,'' approaches Juan Ramó n's poetry and life on their own terms, while the second, ''Afinidades e influencias,'' employs a comparative method, relating the poet to other significant figures, including his wife Zenobia Camprubí. Given the way in which this book has taken shape, there are some unnecessary repetitions of ideas and textual examples, but these are minor distractions in an otherwise wellconceived book. There is no question that Professor Juliá, the author and editor of previous volumes on Juan Ramó n, is in a position to speak with authority about his poetic achievement. Her erudition and her admiration for the poet are evident on virtually every page of the book, as she strives to defend him against certain persistent misconceptions or caricatures of his personality. She is particularly anxious to remove Juan Ramó n from his ivory tower, emphasizing his engagement with the outside world during his exile years. At the same time, she never denies that he was also a difficult individual whose conduct often alienated others. The author writes with admirable clarity and concision throughout, making this j 329
Fairy Tale or Fatal Song? The translator as director of meaning in Lorca’s translated poetry
M. Thelen & B. Lewandowska-Tomaszczyk (eds), Translation and Meaning Part 5, Maastricht University Press, 2001
A current trend in translation studies is for the translator to emerge from anonymity. There is an increasing awareness that a translation reflects a certain interpretation of the source text. Moreover, as a new textual product in the target language, it also steers the interpretative possibilities available to the target audience. In this article, I illustrate this duality on the basis of a French translation of a poem by Federico García Lorca, one of the most frequently translated and interpreted poets of the twentieth century. Earlier studies of his work mainly highlighted the elements of imagination, magic, and folklore. More recently, and especially outside Spain, critics have been paying more attention to interpretations that have a psychological flavour and that emphasise the destructive, homo-erotic, black side of Lorca's nature. This article shows that in the poem that I examine, the translator has used a strategy that stresses the imaginative, child-like aspects of the poem, thus making a more sinister interpretation less likely. I end with an attempt to account for the translator's strategy by showing that its tenor is similar to that of the early interpretations.
Lorca--Literary Structure and the Study of Poetic Language
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